Sykes' Manual Of Penmanship

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MANCHESTER:

R. S. CHRYSTAL. 11, Market Street.

LONDON:

SIMPKIN. MARSHALL, HAMILTON. KENT. & CO. LIMITED

ONE SHILLING

NET

MANCHESTER:

R. S. CHRYSTAL, 11. Market Street.

LONDON i

SIMPKIN. MARSHALL. HAMILTON. KENT. & CO. LIMITED.

ONE SHILLING NET.

INTRODUCTION.

SJ2HIS Handbook of Penmanship contains a comprehensive System embracing all the instruction
required to secure Legibility, Speed, and Symmetry in writing. The series of Movement
Exercises which is given in combination with the letter forms add interest, to the lessons
while developing a perfect command of the pen. To Teachers in Elementary Schools, the
portion devoted to an analysis of the letters should be of great value, as being applicable
to any style of writing. Teachers of Adult Classes are furnished with a method of instruction
as attractive as it is thorough ; candidates for the Civil Service appointments and home

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students can, with a little application, make a distinct improvement in their writing in a very
short time. This System has stood the test of many years practice both in the Manchester

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Grammar School, the Continuation Classes under the School Board, and in private tuition.
The Author confidently recommends this Manual to Teachers of Penmanship, and to . all who

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aspire to become skilful in the Art of Writing.

POSITION

Sit fairly erect with both feet flat on the
ground the right foot a little in advance of the
left. Your left side - should be nearest the desk
and your body supported by your left arm, so
that the right may have freedom of movement.
The lower edge of the book must be parallel
with the edge of the desk and well up so as
to make room for the arm. Keep your book a
little to your right, except for vertical writing
when it should be directly in front of you. Avoid
stiffness in position but don't lounge; the direction
of the writing is largely governed by the attitude
assumed.

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SLANT.

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Uniformity of Slant is indispensable to good writing and is the result of correct movement.
An effective method of acquiring this object is to rule a number of lines at the required
slant upon a loose sheet of paper and place it under the sheet written upon so that the lines
may appear faintly through.

HOLDING THE PEN.

Place the penholder at about one inch and a quarter from the pen point against the first
joint of the second finger, and hold it there with the end of the thumb, letting it cross the
first finger in front of the knuckle joint. Now rest the first finger lightly on top of the pen.
Lower the third and fourth fingers bent," and use the surface of the nails as a sliding support
for the hand. Let the wrist lie flat without touching the desk and mind that both points of
the pen touch the paper evenly.

MOVEMENT.

The accompanying cut shows the arm in position
for writing. Holding the pen as already described, the

arm is l^id lightly upon the desk in a natural position
of about 6o° slant. The muscle in front of the elbow
acts as a movable slide to carry the hand across the
paper, the hand itself sliding at the same time on
the surface of the nails of the third and fourth fingers.
The same relative position of the hand and arm must
be maintained throughout. Do not move the hand
independently of the arm. Form the small letters by
extending and contracting the fingers that hold the
pen, moving the arm across simultaneously. The
Capital letters are best made by means of the muscle
of die forearm only, keeping the hand and fingers
perfectly rigid.

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THE SMALL LETTERS -height, i space.

ANALYSIS.

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An Analysis of the letters is of
great value in obtaining uniformity.
Most of the letters consist of the
following

PRINCIPLES.

All downward lines are on a
slant of 52 0 .

The First Principle is a
downward oblique straight line.

The Second Principle - is an
upward right curve. Slant 30 0 .

The Third Principle is an
upward left .curve. Slant 30 0 .

The Fourth Principle is the

loop.

The Fifth Principle is the
direct Oval.

The Sixth Principle is an
inverted Oval.

The Seventh Principle is a
Compound curve.

A full description of the
Principles is given as they are
required.

First Principle.
A straight downward line.
Slant 52°-

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Second Principle.
A right upward curVe.
Slant 30 °.

Third Principle.
An upward left curve.
Slant 30 0 .

Prin. 2, t, 2.
Width, 2 spaces.

Prin. 2, 1, 2, 1, 2,
Width, 3 spaces.

Prin. 2, 1, 2, i, 2.
Width, 3 spaces.

Prin. 2, 1, 2.
Width, 2 spaces.

Prin- 3» 3i h 3> 2
Width, 4 spaces.

Prin. 3, i, 3, 1, 2.
Width, 3 spaces,

Prin. 3, 1, 2.
Width, 2 spaces.

Prin. 3, 1, t, 2,
Width, 2 spaces.

JPkin. 3, 3 down, 2.
Width, 2 spaces.

Prin. 2, 3 down, 2.
Width, 2 spaces.

Prin. 2, 3 down, 2.
Width, 2 spaces.

Prin. 3, 3 down, 2, 1, 2,
Width, 3 spaces.

Prin. 2, 3, 2.
Width, 2 spaces.

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THE

Of the extended letters, some
have loops and others have
straight lines as continuants.

The looped letters are formed
of the Fourth Principle and one
or more of the other Principles.

Each of the long letters has
its corresponding small letter ; the
lower part of the 1 is the i, the
last part of the h and n are
alike, and so on.

THE FOURTH PRINCIPLE.

Commence on the base line
with a right curve at a slant of
30 0 to the head line, change to
5 2 0 to the top. Make a left turn
and a straight downward line at
5 2 0 . Height, 3 spaces. Width of
loop, ^ space.

EXTENDED LETTERS.

PRIN. 2, 1 , 2.

Width, 2 spaces.
Height, 2 spaces.

Prin. 3, 3, 2, 1, 2.
Width,- 3 spaces.
Height, 2 spaces.

Prin. 2, 1, 3, j, 2,
Width, 3 spaces.
Length, 3^ spaces.

Piun- 3> 3. 2 » 2 -
Width, 3 spaces.

Length, 2^ spaces.

Prin. 4, 2.
Width, 2 spaces.
Height, 3 spaces.

Prin. 4, 2.
Width 2 spaces.
Height, 3 spaces.

Prin. 4. 3. '» *-
Width, 3 spaces.
Height, 3 spaces.

Prin. 4, 3, 2, 1, 2.
Width, 3 spaces.
Height, 3 spaces.

Prin. 2, 4.

Width, 2 spaces.
Length, 3 spaces.

Prin. 3, 1, 2, 4.
Width, 3 spaces.
Length, 3 spaces.

Prin. 3, 3, 2, 4.
Width, 3 spaces.
Length, 3 spaces.

Prin. 3, 1, 4.
Width, 2 spaces.
Length, 3 spaces.

Prin. 4 and reversed loop.
Length, 5 spaces.
Width, 2 spaces,.

The downward loops have the
jroportions as the upward. .

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THE CAPITALS ANALYZED.

FIFTH PRINCIPLE CAPITALS.

The Fifth Principle is the
direct oval.

The outer curve only is to
be shaded ; the inner parallel
with it. The oval is at a slant

of 52°.

Principle 5.

SIXTH PRINCIPLE CAPITALS.

The balance depends upon
the centre loop, which must be j
at right-angles with the main |
slant, and }i of the whole
length from the top.

Principles 3, 2, 3, 5.

The loop at the base is on
the main slant and not hori-

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zontal. Preserve the oval in
finishing.

Prin. 5, 3, 2.

The inner oval is 2 /i the
length of the letter and parallel
with the outer.

Principles 3, 5-

Commence at the base and
describe an oval at a slant of
5 2 0 . The downward stroke is
shaded on the full.

Principle 6.

In joining the two down-
strokes don't thicken the
centre.

Prin. 6, 3, 2.

The angle at the top should
be at the same height as the
first curve , the last line is
2 spaces of length.

Prin. 6, 2, 1, 3.

The loop must be narrow
and the horizontal curve at
the base not too pronounced.

Prin. 6, 3, 2.

The loop at the base is on
the main slant ; the oval to be
shaded.

Principles 6, 4.

Begin with 6th Prin. and
blend into a left curve. Finish

with a compound curve 2

— spaces of height

Prin. 6, 3, 2, 3.

First part like the V ; the
second part has only 2 spaces
of height.

Prin. 6. 3, 2, i, 2.

. Make the first part exactly
like the U, up to the angular
joining at 2 spaces of height.
Finish with a loop.

Prin. 6, 3, 2, 4.

Avoid making any angle
at the top. Oval at the base
is 30 0 slant.

Prin. 3, 2, 3.

Begin with an upward
left curve and do not make
the top angular. The top
loop is wider than the lower.

Prin. 3, 2, 3.

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FIGURES.

The figures are ij^ spaces in
height, except the 6, 7, and 9, which
are one half space longer.

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SEVENTH PRINCIPLE CAPITALS.

The Seventh Principle is
a compound curve, slant 52 0 ,
and finishes with an oval,
slant 30 0 .

Make the 7th Prin. down-
^ ward and increase the slant,
as it represents an up stroke.

Prin. 7, r, 3, 2.

Begin with a downward
_ stroke as above. At the
base of next line make a
narrow curve. Finish with a
left curve 2 spaces.
Prin. 7, 3, 2.

Begin with a downward
line. The turn in the centre

'( ^'//(y — ' s a narrow curve -

Prin. 7, 3, 3, 3, 2.

SEVENTH PRINCIPLE CAPITALS

Begin with 7th Prin.;
bring the top close to the
main stem, the highest
part of the compound
curve just above it.

Prin. 7, 3, 2, 3.

Same as T except the
small line at right.

Prin. 7, 3, 2, 3.

A right upward curve
2 spaces, downward direct
curve ending in ovaL

Prin. 2, 7, 3, 3, 2.

Begin as in the H. The
loop in the centre must
slant at a right-angle with
( / the main slant

Prin. 2, 7, 3, 2, 2, 3, 2.

Make a right upward
curve, and finish with 7th
Prin.

Prin. 2, 7.

Begin with a right curve
and carry the 7th Principle
along the line to form a
narrow loop.

Prin. 2, 7.

Commence on the base line
with a right curve, form a
loop to the head line and
finish with the main stem.

Prin. 4, 2, 7.

Make the upward curve at
left freely and preserve the

Prin. 7, 6, 2.

Same as P to centre. The
loop must be at right-angles
with the main slant

Prin. 7, 6, 2, 3.

Same as B to centre. The
loop must be at right-angles
with the main stem.

Prin. 7, 6, 2, 3, 2.

MOVEMENT EXERCISES

. Note. — Each of these Exercises should extend
across a sheet of foolscap paper.

No. i. — Sliding Movement. — Move the hand
and arm together across the paper.

No. 2. — CoMitiNED Movement. Move the hand
and arm as before but make the slanting lines by
extending and contracting the fingers.

No. 3. — Muscular Movement. — An Exercise
in which the muscle of the forearm is employed ;
the wrist is kept rigid.

Nos. 4 and 5. — Co'mrineo Movement. — The
upward strokes are made with the Arm Movement,
and the downward with the finger.

No. 6. — Triple Movement. — The upward strokes
are made with the sliding movement ; the down
strokes with the finger movement ; and the ovals by
rolling the arm lightly on the fleshy part of the
forearm while moving the fingers independently.

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EXERCISES ON THE SMALL LETTERS

Each Exercise to extend across the page.

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THE LOOPED LETTERS,

Each Exercise to extend across the page.

SPEED EXERCISES,

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STANDARD BUSINESS ALPHABET,

yy/yy/yyy/y yj

//yyy/s yyy/yy a

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EXERCISES ON THE CAPITALS.

Our analysis shows us that the Capitals are
chiefly formed of the 5th, 6th, and 7th Principles ;
that is, a Direct Oval, an Inverted Oval and a
Compound Curve, or Main Stem. These exercises,
as well as those on the combined Capitals which
follow should be made with the Muscular Movement,
independently of the fingers. Each copy must be

practised separately and carried across the page.
The learner will not find the exercises difficult
but very useful.

COMBINED CAPITALS.

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1 /fZiy^^z^<.

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ZSJ/.-ZZ/

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CIVIL SERVICE WRITING.

handwriting
characteristic

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alphabet The letters must be without ornament of any kind, the 6nal stroke in each word
being made as short as possible. It is customary to make the spaces between letters and
words wider than in copper-plate writing ; loops are also somewhat shorter and much wmer.
The average slant of the best specimens is 7 tf. All turnings are round, and up and down
strokes are nearly the same thickness. As there is sometimes a good quantity of matter m
the examination papers, students should learn to write at a fair rate of speed, and this can
be best accomplished by practising such exercises as are found in this book. After carefully
studying the letter forms the learner should combine them in movement exercises, begmmng
s,owly and gradually increasing the speed. It is best to practise on unruled foolscap paper
with a broad-nibbed pen. -

THE CIVIL SERVICE ALPHABET.

J

I 2 3 U 5

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Wtlli^rru 1: IOJO.

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LETTERING

Although Lettering is no longer taught in schools, there are many who require it in
their ordinary pursuits to whom a knowledge of the letter forms is an advantage. It is not
within the sphere of this Manual to give more than the standard alphabets which follow
but these, and the variations which the learner's ingenuity will suggest, are enough for all
practical purposes. The Block letters, arranged in squares, will serve to show the proportions
of the Upright Roman, the Slanting Roman, and other ornamental letter^: these should be
practised until the learner is thoroughly acquainted with the forms, like inordinary writing
Ihe German and Old English Text are written with a quill pen, the point of which ma & v
be broad or narrow as required. The shaping of a quill pen is no easy matter, and the
Author has quite a respectable-sized volume on this subject. A simple and ready way to
prepare the pen is to buy an ordinary cut quill, and laying it on a sheet of glass, back
upwards, cut it diagonally across, leaving the left side slightly the shorter. Froiu the very
outset you should try to draw the letters freehand : if you use the pencil for more than the
spacing you will never acquire that freedom which characterises the finished Penman. Very little
flourishing should be used: sometimes, by way of ornament, it is necessary ; in that case,
care must be taken to follow the rules of composition so as to produce a harmonious whole.'
Flourishing, for its own sake, is now entirely out of date, and is looked upon by practical
men rather as a monument of misspent energy than an accomplishment to be admired.

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Title Page

Introduction ... , ...

Position

Slant

Holding the Pen

Movement ...

Analysis^Small Letters ...
„ Extended Letters
„ Capital Letters
„ Capitals and Figures

Movement Exercises

Exercises— Small Letters...
„ Extended Letters

Speed Exercises ...

Standard Alphabet

Exercises on Capitals

Combined Capitals

Variety Capitals

Business Head-lines
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A Model Letter ...
Business Forms ...
Civil Service — Instructions

Alphabet ...
Head Lines

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Round Hand Alphabet ...
Round Hand Copy
German Round Hand
: — Instructions

Egyptian Block Letters
Old English Text
German Text.*.
Upright Roman
Slanting Roman

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MANCHESTER:
Henry Blacklock & Company Limited, Printers.